In order to understand the incredible growth of Hispanic theatre in America, one must understand the history and plight of Hispanic Americans. First off, Hispanic American theatre, unlike ethnic theatre in America, was not originally and wholly meant to entertain. Hispanic theatre in America was always centered around "la causa", or the cause. The skill of the actors onstage gave way to the ideology behind the plays' message. It came from the Spanish roots of present-day Texas and the oppressive urban communities of New York City. The rough cultures from which many of these theatre movements originate has caused interruptions in their history. This has, unfortunately, caused many from those respective backgrounds to breakaway from their culture's traditional theatre roots. However, a new generation of directors, playwrights, and performers seem to be paving a whole new path in the world of Hispanic theatre. The three main Hispanic theatre movements (Chicano theatre, Cuban-American theatre, and Nuyorican theatre) are beginning to see themselves change into new directions, hopefully without dismembering the messages that made their movements so unique.
To the suprise of many, the first Spanish-speaking theatre in America predates the first English-speaking theatre of the same kind. The first known performance took place near Miami in 1567 inside a Spanish mission. A play was performed by Spanish settlers for Native Americans so as to convert them to Christianity. From there, an early Chicano theatre group was born. A group of colonizers, led by Juan de Onate, began to perform religious plays in El Paso beginning in the late 16th century. By the late 19th century, there were chicano theatres starting from Texas all the way to the
West Coast. However, as the Gold Rush was commencing, so too was the influx of Anglo-Americans into Chicano-centered hubs such as Los Angeles and San Francisco. Although now mixed with these new settlers, the Chicano American community as a whole did not socialize with these new neighbors, and this was reflected in their culture as well as their theatre. However, this was also around the time when the Puerto Rican and Cuban American theatre movements got off the ground. By the end of the 19th century, Puerto Ricans and Cubans were heading to the city of New York. A majority of Cubans were also going to Florida in search of religious and economic prosperity. Cuban theatre began to pop up immediately, with many Cuban American plays being directed and written by theatre veterans such as Luis Baralt, Alberto O'Farrill and Armando Bronca. Puerto Rican theatre did not fall far behind, with plays centered around the Puerto Rican struggle for independence and the active performances of the Spanish Harlem Renaissance, However, Cuban-American, Chicano, and Nuyorican theatre began to truly blossom during the civil rights era. Unlike ever before, Hispanic theatre was being centered around the strifes of the everyday man and the country from which he hailed. Cuban playwrights such as Leopoldo Hernandez, Rene Ariza, and Jose Sanchez Boudy began to write plays centered around the Cuban government's regime and the Communist Revolution, specifically pertaining to Fidel Castro. Chicano Americans began writing about the abuse they had suffered at the hands of the oppresors. Chicano playwright Luis Valdez began to write and perform plays influenced by the work done by Cesar Chavez. These plays, such as the acclaimed "Zoot Suit", were performed by his theatre company El Teatro Campesino (Farm Workers Theatre). Puerto Rican theatre began producing plays that mirrored the Puerto Rican experience, such as Rene Marques' "La Carreta" and Manuel Mendez Ballester's "Encrucijada". The growth of these theatre movements began to mirror the growth of the cultures from which they came.
Although these theatre movements began to thrive during the 1950's, 60's, and 70's for their harsh stances, the Hispanic theatre movement began to see a gradual change. Many of the native-born playwrights of the civil rights era have given way to the new generation of writers who've been born and bred in the USA. Many of these new playwrights discuss different topics than those of the mid 20th century. Unlike plays centered around political ideologue, today's Hispanic play may center around something like women's rights and body positivity in America. An example of this would be Chicano American playwright Josefina Lopez and her play "Real Women Have Curves". Like "Real Women Have Curves", today's Hispanic playwrights are now using an interesting blend of Spanish and English, or 'Spanglish', in their writing. A mother may speak to her daughter in English and then lecture her in Spanish, all in the same breath. It is not better, nor is it worse. But it is different.
To the suprise of many, the first Spanish-speaking theatre in America predates the first English-speaking theatre of the same kind. The first known performance took place near Miami in 1567 inside a Spanish mission. A play was performed by Spanish settlers for Native Americans so as to convert them to Christianity. From there, an early Chicano theatre group was born. A group of colonizers, led by Juan de Onate, began to perform religious plays in El Paso beginning in the late 16th century. By the late 19th century, there were chicano theatres starting from Texas all the way to the
West Coast. However, as the Gold Rush was commencing, so too was the influx of Anglo-Americans into Chicano-centered hubs such as Los Angeles and San Francisco. Although now mixed with these new settlers, the Chicano American community as a whole did not socialize with these new neighbors, and this was reflected in their culture as well as their theatre. However, this was also around the time when the Puerto Rican and Cuban American theatre movements got off the ground. By the end of the 19th century, Puerto Ricans and Cubans were heading to the city of New York. A majority of Cubans were also going to Florida in search of religious and economic prosperity. Cuban theatre began to pop up immediately, with many Cuban American plays being directed and written by theatre veterans such as Luis Baralt, Alberto O'Farrill and Armando Bronca. Puerto Rican theatre did not fall far behind, with plays centered around the Puerto Rican struggle for independence and the active performances of the Spanish Harlem Renaissance, However, Cuban-American, Chicano, and Nuyorican theatre began to truly blossom during the civil rights era. Unlike ever before, Hispanic theatre was being centered around the strifes of the everyday man and the country from which he hailed. Cuban playwrights such as Leopoldo Hernandez, Rene Ariza, and Jose Sanchez Boudy began to write plays centered around the Cuban government's regime and the Communist Revolution, specifically pertaining to Fidel Castro. Chicano Americans began writing about the abuse they had suffered at the hands of the oppresors. Chicano playwright Luis Valdez began to write and perform plays influenced by the work done by Cesar Chavez. These plays, such as the acclaimed "Zoot Suit", were performed by his theatre company El Teatro Campesino (Farm Workers Theatre). Puerto Rican theatre began producing plays that mirrored the Puerto Rican experience, such as Rene Marques' "La Carreta" and Manuel Mendez Ballester's "Encrucijada". The growth of these theatre movements began to mirror the growth of the cultures from which they came.
Although these theatre movements began to thrive during the 1950's, 60's, and 70's for their harsh stances, the Hispanic theatre movement began to see a gradual change. Many of the native-born playwrights of the civil rights era have given way to the new generation of writers who've been born and bred in the USA. Many of these new playwrights discuss different topics than those of the mid 20th century. Unlike plays centered around political ideologue, today's Hispanic play may center around something like women's rights and body positivity in America. An example of this would be Chicano American playwright Josefina Lopez and her play "Real Women Have Curves". Like "Real Women Have Curves", today's Hispanic playwrights are now using an interesting blend of Spanish and English, or 'Spanglish', in their writing. A mother may speak to her daughter in English and then lecture her in Spanish, all in the same breath. It is not better, nor is it worse. But it is different.